The Chinese Wu Opera Troupe of Zhejiang Province performs in Kinshasa

 

The Petite Théâtre, Grand Tambour Hall of the Cultural and Artistic Center for Central African Countries (CCAPAC) served as the setting this Thursday, September 25 , 2025 for the Representation Wu Opera Special, a demonstration of the Chinese traditional art.

The performance of the Wu Opera Troupe from Zhejiang Province in D.R. Congo was organized by the Chinese Embassy in the DRC and co-sponsored by the Sino- Congolese Chamber of Commerce and Grand Tambour-CCAPAC.

The Chinese and Congolese spectators filled the Petite Théâtre Grand Tambour- CCAPAC have attended a fun and informative demonstration that aroused in their applause and marveled at the discovery of Chinese culture through dance sequences, feats and ground acrobatics as part of the performance of this Chinese troupe.

The show presented different sections namely:

The Nine-Section Dragon, which is danced to background music adapted from traditional Wu opera tunes, imbued with a strong regional character of the lake villages of Jiangnan. The posture and the appearance of the dragon impose respect and majesty, while the bodies of the dancers, vigorous and robust, are based on body and soul into the movement of the dragon.

As the performance progresses, this one seems sometimes to soar into the clouds, sometimes to sail in the vast sea, sometimes to bow in solemn reverence, or sometimes sneak nimbly into trajectories​​ winding.

The gestures follow one another in a harmony of grasping, jumping, turning, pivoting, rolling, bending, weaving a spectacular choreography. The whole evokes a sea dragon playing with a pearl, in a panting and vibrant rhythm. The processes are varied, the figures constantly changing, offering a spectacle of a dazzling visual richness. This dance expresses a wish for happiness, prosperity and good omen .

Block the horse

This play is inspired by the famous legend of the Yang Family Generals (Yang Jia Jiang) in the Song Dynasty. The story tells the meeting, in a region border, between General Jiao Guangpu and the heroine Yang Bajie. After a martial clash, the misunderstanding dissipates and both return to their homeland together.

Blocking the horse counts among the emblematic works of the traditional repertoire, distinguished by the implementation value of martial prowess of actors and actresses.

 

Carry the wedding palanquin

Four palanquin bearers, responsible for carrying a young married, have fun teasing her to cheat boredom in shaking voluntarily the litter with vigor. The bride, angry, retorts then the joke against them. Finally, the misunderstandings calm down and all resume their way in a good mood.

Carrying the wedding palanquin seduces by the liveliness and expressiveness of its scenic gestures, its playful and humorous tone, as well as its irresistible comic lightness. Very popular with the public, this play remains one of the favorites of the popular repertoire.

Solo de suona – Jujube Picking

The suona, a traditional Chinese wind instrument with a unique timbre, is distinguished by a bright sound, powerful and penetrating. Often associated with scenes of rejoicing and celebration, “The Harvest of Jujubes” is one of the emblematic play of the repertoire for suona solo. The melody, at the same time fiery and generous, paints a lively and touching picture: In the middle of autumn in Northern China, the jujube trees bend under the weight of their scarlet fruits. The villagers, a basket in hand and a perch in the other, pick the fruits while chatting happily, their laughter intertwining in an atmosphere of continuous gaiety.

Lü Bu puts the horse to the test

Through a series of postures, ground acrobatics, and techniques closely linked to the plot, the actors reveal their exceptional mastery of stagecraft.

The action takes place during the Three Kingdoms period: General Lü Bu acquires the legendary horse Chitu, capable of traveling a thousand li a day. Overjoyed, he leads his troop to the edge of a vast plain to test the horse's poise. But the fiery and untamable animal rebels. Seized by a heroic impulse, Lü Bu tames it with his peerless equestrian skills, then triumphantly returns to camp.

The Meeting at the Crossroads

Liu Lihua, manager brave and just, intervenes to save Jiao Zan, victim of the intrigues of a treacherous minister and sent into exile. But a misunderstanding opposes him to Ren Tanghui, who protected Jiao Zan in the shadows. In the heart of the moonless night, the two men confront each other violently in a house plunged into total darkness. Considered as one of the great fight scenes from the Chinese traditional opera, this game is played on a scene devoid of any decor with a minimum of light. In this technical and risky dialogue between sabers and stage movements, the mastery of gestures by the actors reflects all the art of choreography in the role of Wusheng.

Excerpt from Wu Opera – The Goddess Who Scatters Flowers

Inspired by ancient Chinese myths, this dance features an actress performing with grace a magnificent long silk ribbon dance, combining technical virtuosity and visual poetry.

The Three Battles Against the White Bone Demon

On their journey westward to retrieve the sacred scriptures, the monk Tang Seng and his disciples arrive at Mount Wan Zi Shan. The White Bone Demon (Bai Gu Jing), who craves the monk’s flesh, transforms three times to deceive them. But each time, Sun Wukong sees through the demon’s tricks and strikes it down with his magical staff, Jingu Bang, despite his master’s objections.

Deceived by appearances, Tang Seng believes that Wukong has wrongly attacked three innocent people, violating Buddhist principles, and angrily banishes him. Wukong pleads in vain and, heartbroken, retreats to Mount Huaguo Shan.

Soon after, Tang Seng and the other disciples fall into the demon’s trap and are captured. Zhu Bajie manages to escape and runs to beg Wukong for help. Loyal and determined, Wukong sets aside his bitterness and descends the mountain. After a fierce battle, he defeats Bai Gu Jing, allowing the group to resume their journey to the West.

The show ended with a greeting from the actors by Honorable Modest Bahati Lukwebo, Former President of the DRC Senate, accompanied by the Chinese Ambassador to the DRC, H.E. ZHAO Bin.

Then the assistance made up of all social Congolese classes and in the majority of young people had the opportunity to meet the actors of the Wu Opera Troupe of Zhejiang Province and take souvenir photos with them.

This cultural activity allowed to make a positive contribution in the context of strengthening cultural cooperation between China and the DRC.

 

Cassien Tribunal Aungane, Assistant Editorial Secretary